Tintoretto - The complete works Contact Self portrait Jacopo Tintoretto (real name Jacopo Comin; September 29, 1518 - May 31, 1594) was one of the greatest painters of the Venetian school and probably the last great painter of the Italian Renaissance. In his youth he was also called Jacopo Robusti, as his father had defended the gates of Padua in a rather robust way against the imperial troops. His real name "Comin" has only recently been discovered by Miguel Falomir, the curator of the Museo del Prado, Madrid, and was made public on the occasion of the retrospective of Tintoretto at the Prado in 2007. Comin translates to the spice cumin in the local language. For his phenomenal energy in painting he was termed Il Furioso, and his dramatic use of perspectival space and special lighting effects make him a precursor of baroque art.

Jacopo Robusti Tintoretto's oil paintings gallery and museum 01 The Washing of the Feet mk61 1547 Oil on canvas 210x533cm Jacopo Robusti Tintoretto 1518-1594 Italian Tintoretto Galleries The real name of Tintoretto was Jacopo Robusti, but he is better known by his nickname, meaning the "little dyer, " his father having been a silk dyer. The artist was born in Venice and lived there all his life. Even though his painting is distinguished by great daring, he seems to have led a rather retired life, concerned only with his work and the well-being of his family. His daughter Marietta and his sons Domenico and Marco also became painters, and Domenico eventually took over the direction of Tintoretto's large workshop, turning out reliable but un-inspired pictures in the manner of his father. Some of them are, on occasion, mistaken for works of the elder Tintoretto.

Tintoretto appears to have studied with Bonifazio Veronese or Paris Bordone, but his true master, as of all the great Venetian painters in his succession, was Titian. Tintoretto's work by no means merely reflects the manner of Titian. Instead he builds on Titian's art and brings into play an imagination so fiery and quick that he creates an effect of restlessness which is quite opposed to the staid and majestic certainty of Titian's statements. If Tintoretto's pictures at first sight often astonish by their melodrama, they almost inevitably reveal, at closer observation, a focal point celebrating the wonders of silence and peace. The sensation of this ultimate gentleness, after the first riotous impact, is particularly touching and in essence not different from what we find (although brought about by very different means) in the pictures of Titian and Paolo Veronese. Tintoretto was primarily a figure painter and delighted in showing his figures in daring foreshortening and expansive poses. His master in this aspect of his art was Michelangelo.

Tintoretto is supposed to have inscribed on the wall of his studio the motto: "The drawing of Michelangelo and the color of Titian." Unlike Michelangelo, however, Tintoretto worked and drew very quickly, using only lights and shadows in the modeling of his forms, so that his figures look as if they had gained their plasticity by a kind of magic. In the rendering of large compositions he is reported to have used as models small figures which he made of wax and placed or hung in boxes so cleverly illuminated that the conditions of light and shade in the picture he was painting would be the same as those in the room in which it was to be hung. 1000+ images about TINTORETTO -RENACIMIENTO- on Pinterest | Oil on canvas, Venice and Raising of lazarus Pinterest • The world’s catalog of ideas TINTORETTO -RENACIMIENTO- JACOPO COMIN, VENECIA 29/9/1518-VENECIA 31/5/1594. EL ÚLTIMO GRAN PINTOR DEL RENACIMIENTO ITALIANO.

APODADO "Il Furioso" por su energía al pintar y su dramático uso de la perspectiva. 255 Pins264 Followers 1000+ images about Jacopo Tintoretto on Pinterest | Caves, Flora and Emperor TINTORETTO The Last Judgment 1560-62 Oil on canvas, 1450 x 590 cm Madonna dell'Orto, Venice See More Jacopo Robusti Tintoretto - Oil Painting Reproductions Home :: Artists :: Jacopo Robusti Tintoretto Jacopo Robusti Tintoretto Tintoretto (September 29, 1518 â May 31, 1594), real name Jacopo Comin, was a Venetian painter and a notable exponent of the Renaissance school. For his phenomenal energy in painting he was termed Il Furioso. His work is characterized by its muscular figures, dramatic gestures and bold use of perspective in the Mannerist style, while maintaining color and light typical of the Venetian School.

In his youth, Tintoretto was also known as Jacopo Robusti as his father had defended the gates of Padua in a rather robust way against the imperial troops during the War of the League of Cambrai (1509â1516). His real name 'Comin' has only recently been discovered by Miguel Falomir, the curator of the Museo del Prado, Madrid, and was made public on the occasion of the retrospective of Tintoretto at the Prado in 2007. Comin translates to the spice cumin in the local language. Tintoretto was born in Venice in 1518, as the eldest of 2children. His father, Giovanni, was a dyer, or tintore; hence the son got the nickname of Tintoretto , little dyer, or dyer's boy, which is anglicized as Tintoret. The family originated from Brescia, in Lombardy, then part of the Republic of Venice. Older studies gave the Tuscan town of Lucca as the origin of the family.

In childhood Jacopo, a born painter, began daubing on the dyer's walls; his father, noticing his bent, took him to the studio of Titian to see how far he could be trained as an artist. We may suppose this to have been towards 1533, when Titian was already (according to the ordinary accounts) fifty-six years of age. Tintoretto had only been ten days in the studio when Titian sent him home once and for all, the reason being that the great master observed some very spirited drawings, which he learned to be the production of Tintoretto ; and it is inferred that he became at once jealous of so promising a scholarÂ¹.

This, however, is mere conjecture; and perhaps it may be fairer to suppose that the drawings exhibited so much independence of manner that Titian judged that young Jacopo, although he might become a painter, would never be properly a pupil.Madonna with Child and Donor, National Museum of Serbia, Belgrade From this time forward the two always remained upon distant terms, Tintoretto being indeed a professed and ardent admirer of Titian , but never a friend, and Titian and his adherents turning the cold shoulder to him. Active disparagement also was not wanting, but it passed unnoticed by Tintoretto . The latter sought for no further teaching, but studied on his own account with laborious zeal; he lived poorly, collecting casts, bas-reliefs, &c., and practising by their aid. His noble conception of art and his high personal ambition were evidenced in the inscription which he placed over his studio Il disegno di Michelangelo ed il colorito di Tiziano (' Michelangelo 's design and Titian 's color').

He studied more especially from models of Michelangelo 's Dawn, Noon, Twilight and Night, and became expert in modelling in wax and clay method (practised likewise by Titian ) which afterwards stood him in good stead in working out the arrangement of his pictures. The models were sometimes taken from dead subjects dissected or studied in anatomy schools; some were draped, others nude, and Tintoretto was to suspend them in a wooden or cardboard box, with an aperture for a candle. Now and afterwards he very frequently worked by night as well as by day. Early worksThe Siege of Asola, (1544-1545), National Museum, Poznań.Finding of the body of St Mark (1548). The young painter Andrea Schiavone, four years Tintoretto 's junior, was much in his company. Tintoretto helped Schiavone gratis in wall-paintings; and in many subsequent instances he worked also for nothing, and thus succeeded in obtaining commissions. The two earliest mural paintings of Tintoretto âdone, like others, for next to no payâare said to have been Belshazzar's Feast and a Cavalry Fight.

These are both long since perished, as are all his frescoes, early or later. The first work of his to attract some considerable notice was a portrait-group of himself and his brotherâthe latter playing a guitarâwith a nocturnal effect; this also is lost. It was followed by some historical subject, which Titian was candid enough to praise. One of Tintoretto 's early pictures still extant is in the church of the Carmine in Venice, the Presentation of Jesus in the Temple; also in S. Benedetto are the Annunciation and Christ with the Woman of Samaria. For the Scuola della Trinity (the scuole or schools of Venice were more in the nature of hospitals or charitable foundations than of educational institutions) he painted four subjects from Genesis. Two of these, now in the Venetian Academy, are Adam and Eve and the Death of Abel, both noble works of high mastery, which leave us in no doubt that Tintoretto was by this time a consummate painter - one of the few who have attained to the highest eminence in the absence of any formal training.

Saint Mark paintings Towards 154 Tintoretto painted for the church of the Madonna dell'Orto three of his leading works - the Worship of the Golden Calf, the Presentation of the Virgin in the Temple, and the Last Judgment now shamefully repainted. He took the commission for two of the paintings, the Worship of the Golden Calf and the Last Judgment, on a cost only basis in order to make himself better known. He settled down in a house hard by the church. It is a Gothic edifice, looking over the Fondamenta de Mori, which is still standing. In 154he was commissioned for four pictures in the Scuola di S. Marco: the Finding of the body of St Mark in Alexandria (now in the church of the Angeli, Murano), the Saint's Body brought to Venice, a Votary of the Saint delivered by invoking him from an Unclean Spirit (these two are in the library of the royal palace, Venice), and the Miracle of the Slave.

The latter, which forms at present one of the chief glories of the Venetian Academy, represents the legend of a Christian slave or captive who was to be tortured as a punishment for some acts of devotion to the evangelist, but was saved by the miraculous intervention of the latter, who shattered the bone-breaking and blinding implements which were about to be applied.St Mark's Body Brought to Venice (1548) These four works were greeted with signal and general applause, including that of Titian 's intimate, the too potent Pietro Aretino, with whom Tintoretto , one of the few men who scorned to curry favor with him, was mostly in disrepute. It is said, however, that Tintoretto at one time painted a ceiling in Pietro's house; at another time, being invited to do his portrait, he attended, and at once proceeded to take his sitter's measure with a pistol (or a stiletto), as a significant hint that he was not exactly the man to be trifled with. The painter having now executed the four works in the Scuola di S. Marco, his straits and obscure endurances were over.

In 1550, Tintoretto married Faustina de Vescovi (or Episcopi ?), daughter of a Venetian nobleman who was the guardian grande of the Scuola Grande di San Marco. She appears to have been a careful housewife, and one who both would and could have her way with her not too tractable husband. Faustina bore him several children, probably two sons and five daughters. The mother of Jacopo's daughter Marietta, a portrait painter herself, was probably a German woman, who had an affair with Jacopo before his marriage to Faustina. Scuola di San Rocco The next conspicuous event in the professional life of Tintoretto is his enormous labor and profuse self-development on the walls and ceilings of the Scuola Grande di San Rocco. The building had been begun in 1525, and was very deficient in light, so as to be particularly ill-suited for any great scheme of pictorial adornment. The painting of its interior was commenced in 1560.

In that year five principal painters, including Tintoretto and Paolo Veronese , were invited to send in trial-designs for the centre-piece in the smaller hall named Sala dell'Albergo, the subject being S. Rocco received into Heaven. Tintoretto produced not a sketch but a picture, and got it inserted into its oval. The competitors remonstrated, not unnaturally; but the artist, who knew how to play his own game, made a free gift of the picture to the saint, and, as a bylaw of the foundation prohibited the rejection of any gift, it was retained in situ, Tintoretto furnishing gratis the other decorations of the same ceiling. In 156he resumed work at the scuola, painting the magnificent Crucifixion, for which a sum of 250 ducats was paid. In 157he presented gratis another centre-pieceâthat for the ceiling of the great hall, representing the Plague of Serpents; and in the following year he completed this ceiling with pictures of the Paschal Feast and Moses striking the Rock accepting whatever pittance the confraternity chose to pay.

Tintoretto next launched out into the painting of the entire scuola and of the adjacent church of San Rocco. He offered in November 157to execute the works at the rate of 100 ducats per annum, three pictures being due in each year. This proposal was accepted and was punctually fulfilled, the painter's death alone preventing the execution of some of the ceiling-subjects. The whole sum paid for the scuola throughout was 244ducats. Disregarding some minor performances, the scuola and church contain fifty-two memorable paintings, which may be described as vast suggestive sketches, with the mastery, but not the deliberate precision, of finished pictures, and adapted for being looked at in a dusky half-light. Adam and Eve, the Visitation, the Adoration of the Magi, the Massacre of the Innocents, the Agony in the Garden, Christ before Pilate, Christ carrying His Cross, and (this alone having been marred by restoration) the Assumption of the Virgin are leading examples in the scuola; in the church, Christ curing the Paralytic.

It was probably in 1560, the year in which he began working in the Scuola di S. Rocco, that Tintoretto commenced his numerous paintings in the ducal palace; he then executed there a portrait of the doge, Girolamo Priuli. Other works which were destroyed in the great fire of 157succeededâthe Excommunication of Frederick Barbarossa by Pope Alexander III and the Victory of Lepanto.The Deliverance of Arsenoe (c. 1560). After the fire Tintoretto started afresh, Paolo Veronese being his colleague; their works have for the most part been disastrously and disgracefully retouched of late years, and some of the finest monuments of pictorial power ever produced are thus degraded to comparative unimportance.

In the Sala deilo Scrutinio Tintoretto painted the Capture of Zara from the Hungarians in 134amid a Hurricane of Missiles; in the hail of the senate, Venice, Queen of the Sea; in the hall of the college, the Espousal of St Catherine to Jesus; in the Sala dell Anticollegio, four extraordinary masterpieces - Bacchus, with Ariadne crowned by Venus, the Three Graces and Mercury, Minerva discarding Mars, and the Forge of Vulcan which were painted for fifty ducats each, besides materials, towards 1578; in the Antichiesetta, St George and St Nicholas, with St Margaret (the female figure is sometimes termed the princess whom St George rescued from the dragon), and St Jerome and St Andrew; in the hall of the great council, nine large compositions, chiefly battle-pieces. Paradise We here reach the crowning production of Tintoretto 's life, the last picture of any considerable importance which he executed, the vast Paradise, in size 7ft. by 30, reputed to be the largest painting ever done upon canvas.

It is a work so stupendous in scale, so colossal in the sweep of its power, so reckless of ordinary standards of conception or method, so pure an inspiration of a soul burning with passionate visual imagining and a hand magical to work in shape and color, that it has defied the connoisseurship of three centuries, and has generally (though not with its first Venetian contemporaries) passed for an eccentric failure; while to a few eyes it seems to be so transcendent a monument of human faculty applied to the art pictorial as not to be viewed without awe. While the commission for this huge work was yet pending and unassigned Tintoretto was wont to tell the senators that he had prayed to God that he might be commissioned for it, so that paradise itself might perchance be his recompense after death. Upon eventually receiving the commission in 158he set up his canvas in the Scuola della Misericordia and worked indefatigably at the task, making many alterations and doing various heads and costumes direct from nature.Miracle of the Slave (1548).

When the picture had been nearly completed he took it to its proper place and there finished it, assisted by his son Domenico for details of drapery, etc. All Venice applauded the superb achievement, which has since suffered from neglect, but little from restoration. Tintoretto was asked to name his own price, but this he left to the authorities. They tendered a handsome amount; he is said to have abated something from it, an incident perhaps more telling of his lack of greed than earlier cases where he worked for nothing at all. Death and pupils After the completion of the Paradise Tintoretto rested for a while, and he never undertook any other work of importance, though there is no reason to suppose that his energies were exhausted had his days been a little prolonged. In 159he became a member of the Scuola dei Mercanti. In 1594, he was seized with severe stomach pains, complicated with fever, that prevented him from sleeping and almost from eating for a fortnight. Finally, on May 31, 159he died.

He was buried in the church of the Madonna dell'Orto by the side of his favorite daughter Marietta, who had died in 1590 at the age of thirty. Tradition suggests that as she lay in her final repose, her heart-stricken father had painted her final portrait. Marietta had herself been a portrait-painter of considerable skill, as well as a musician, vocalist and instrumentalist, but few of her works are now traceable. It is said that up to the age of fifteen she used to accompany and assist her father at his work, dressed as a boy. Eventually, she married a jeweler, Mario Augusta. In 186the grave of the Vescovi and Tintoretto was opened, and the remains of nine members of the joint families were found in it. The grave was then moved to a new location, to the right of the choir. Tintoretto had very few pupils; his two sons and Martin de Vos of Antwerp were among them. His son Domenico Tintoretto frequently assisted his father in the groundwork of great pictures. He himself painted a multitude of works, many of them of a very large scale.

At best, they would be considered mediocre and, coming from the son of Tintoretto , are exasperating. In any event, he must be regarded as a considerable pictorial practitioner in his way. There are reflections of Tintoretto to be found in the Greek painter of the Spanish Renaissance El Greco , who likely saw his works during a stay in Venice. Style of life and assessment Tintoretto scarcely ever travelled out of Venice. He loved all the arts and as a youth played the lute and various instruments, some of them of his own invention, and designed theatrical costumes and properties. He was also versed in mechanics and mechanical devices. While being a very agreeable companion, for the sake of his work he lived in a mostly retired fashion, and even when not painting was wont to remain in his working room surrounded by casts. Here he hardly admitted any, even intimate friends, and he kept his mode of work secret, with the exception of his assistants. He abounded in pleasant witty sayings, whether to great personages or to others, but he himself seldom smiled.The Last Supper (1594).

Out of doors, his wife made him wear the robe of a Venetian citizen; if it rained she tried to induce him with an outer garment which he resisted. When he left the house, she would also wrap money up for him in a handkerchief, expecting a strict accounting on his return. Tintoretto 's customary reply was that he had spent it on alms to the poor or to prisoners. An agreement is extant showing a plan to finish two historical paintings, each containing twenty figures, seven being portraits in a two month period of time. The number of his portraits is enormous; their merit is unequaled, but the really fine ones cannot be surpassed. Sebastiano del Piombo remarked that Tintoretto could paint in two days as much as himself in two years; Annibale Carracci that Tintoretto was in many pictures equal to Titian , in others inferior to Tintoretto . This was the general opinion of the Venetians, who said that he had three pencilsâone of gold, the second of silver and the third of iron.

A comparison of Tintoretto 's final The Last Supper with Leonardo da Vinci 's treatment of the same subject provides an instructive demonstration of how artistic styles evolved over the course of the Renaissance. Leonardo 's is all classical repose. The disciples radiate away from Christ in almost-mathematical symmetry. In the hands of Tintoretto , the same event becomes dramatic, as the human figures are joined by angels. A servant is foregrounded, perhaps in reference to the Gospel of John 13:14-16. In the restless dynamism of his composition, his dramatic use of light, and his emphatic perspective effects, Tintoretto seems a Baroque artist ahead of his time.

Filter Results by: All the Jacopo Robusti Tintoretto's oil paintings - Sweden Oil Painting Frame 1 Christ in the House of Martha and Mary 1570-75 Pinakothek, Munich 28633 Ensther before Ahasuerus mk61 c.1555 Oil on canvas 59x203cm 28634 Joseph and Potiphar's Wife mk61 c.1555 Oil on canvas 54x117cm 28630 Judith and Holofernes mk61 c.1555 Oil on canvas 58x119cm 28628 Moses Saved from the Waters of the Nile c.1555 Oil on canvas 56x119cm 77789 Portrait of Ottavio Strada Date 1567-1568 Medium Oil on canvas Dimensions 128 x 101 cm cyf 20324 Sketch for Paradise in the Sala del Maggior Consiglio at the Ducal Palace at Venice (mk05) Canvas,56 1/

4 x 142 1/2''(143 x 362 cm)Entered the Louvre in 1789 1644 St.George and the Dragon 1560 National Gallery, London 28631 Susanna and the Elders mk61 c.1555 Oil on canvas 58x116cm 20325 Suzanna at Her Bath (mk05) Canvas,65 1/2 x 93 1/2''(167 x 238 cm)Acquired by Louis XIV in 1684 INV 1642 The Annunciation 1583/87 Scuola Grande di San Rocco, Venice 23510 The Annunciation (nn03) 1563/7 Oil on canvas 421.6 x 544.8 cm 166 x 214 1/2 in Scuola Grande di San Rocco Venice 1641 The Origin of the Milky Way 1550 National Gallery, London 28635 The Washing of

 the Feet mk61 1547 Oil on canvas 210x533cm Jacopo Robusti Tintoretto 1518-1594 Italian Tintoretto Galleries The real name of Tintoretto was Jacopo Robusti, but he is better known by his nickname, meaning the "little dyer, " his father having been a silk dyer.

The artist was born in Venice and lived there all his life. Even though his painting is distinguished by great daring, he seems to have led a rather retired life, concerned only with his work and the well-being of his family. His daughter Marietta and his sons Domenico and Marco also became painters, and Domenico eventually took over the direction of Tintoretto's large workshop, turning out reliable but un-inspired pictures in the manner of his father. Some of them are, on occasion, mistaken for works of the elder Tintoretto. Tintoretto appears to have studied with Bonifazio Veronese or Paris Bordone, but his true master, as of all the great Venetian painters in his succession, was Titian. Tintoretto's work by no means merely reflects the manner of Titian. Instead he builds on Titian's art and brings into play an imagination so fiery and quick that he creates an effect of restlessness which is quite opposed to the staid and majestic certainty of Titian's statements. If Tintoretto's pictures at first sight often astonish by their melodrama, they almost inevitably reveal, at closer observation, a focal point celebrating the wonders of silence and peace.

The sensation of this ultimate gentleness, after the first riotous impact, is particularly touching and in essence not different from what we find (although brought about by very different means) in the pictures of Titian and Paolo Veronese. Tintoretto was primarily a figure painter and delighted in showing his figures in daring foreshortening and expansive poses. His master in this aspect of his art was Michelangelo. Tintoretto is supposed to have inscribed on the wall of his studio the motto: "The drawing of Michelangelo and the color of Titian." Unlike Michelangelo, however, Tintoretto worked and drew very quickly, using only lights and shadows in the modeling of his forms, so that his figures look as if they had gained their plasticity by a kind of magic. In the rendering of large compositions he is reported to have used as models small figures which he made of wax and placed or hung in boxes so cleverly illuminated that the conditions of light and shade in the picture he was painting would be the same as those in the room in which it was to be hung.

Sweden Wholesale Oil Paintings, Stretcher Bars, Picture Frames & Beveled Mirrors Design Haven | Life and Paintings of Tintoretto (1518 - 1594) - Make your ideas Art Posts Tintoretto (September 29, 1518 – May 31, 1594), real name Jacopo Comin, was a Venetian painter and a notable exponent of the Renaissance school. For his phenomenal energy in painting he was termed Il Furioso. His work is characterized by its muscular figures, dramatic gestures and bold use of perspective in the Mannerist style, while maintaining color and light typical of the Venetian School. Movements: Renaissance, Naturalism In his youth, Tintoretto was also known as Jacopo Robusti as his father had defended the gates of Padua in a rather robust way against the imperial troops during the War of the League of Cambrai (1509–1516).

His real name “Comin” has only recently been discovered by Miguel Falomir, the curator of the Museo del Prado, Madrid, and was made public on the occasion of the retrospective of Tintoretto at the Prado in 2007. Comin translates to the spice cumin in the local language. Jacobo Robusti (Tintoretto) – St Roch in Prison Visited by an Angel Tintoretto was born in Venice in 1518, as the eldest of 21 children. His father, Giovanni, was a dyer, or tintore; hence the son got the nickname of Tintoretto, little dyer, or dyer’s boy, which is anglicized as Tintoret. The family originated from Brescia, in Lombardy, then part of the Republic of Venice. Older studies gave the Tuscan town of Lucca as the origin of the family. In childhood Jacopo, a born painter, began daubing on the dyer’s walls; his father, noticing his bent, took him to the studio of Titian to see how far he could be trained as an artist.

This was supposedly towards 1533, when Titian was already (according to the ordinary accounts) fifty-six years of age. Tintoretto had only been ten days in the studio when Titian sent him home once and for all, the reason being that the great master observed some very spirited drawings, which he learned to be the production of Tintoretto; and it is inferred that he became at once jealous of so promising a scholar. This, however, is mere conjecture; and perhaps it may be fairer to suppose that the drawings exhibited so much independence of manner that Titian judged that young Jacopo, although he might become a painter, would never be properly a pupil. Recommended: Masters of Art: Caspar David Friedrich (1774 - 1840) From this time forward the two always remained upon distant terms, Tintoretto being indeed a professed and ardent admirer of Titian, but never a friend, and Titian and his adherents turning the cold shoulder to him. Active disparagement also was not wanting, but it passed unnoticed by Tintoretto.

The latter sought for no further teaching, but studied on his own account with laborious zeal; he lived poorly, collecting casts, bas-reliefs, &c., and practising by their aid. His noble conception of art and his high personal ambition were evidenced in the inscription which he placed over his studio Il disegno di Michelangelo ed il colorito di Tiziano (“ Michelangelo ‘s design and Titian’s color”) Jacobo Robusti (Tintoretto) – The Origin of the Milky Way He studied more especially from models of Michelangelo’s Dawn, Noon, Twilight and Night, and became expert in modelling in wax and clay method (practised likewise by Titian) which afterwards stood him in good stead in working out the arrangement of his pictures. The models were sometimes taken from dead subjects dissected or studied in anatomy schools; some were draped, others nude, and Tintoretto was to suspend them in a wooden or cardboard box, with an aperture for a candle. Now and afterwards he very frequently worked by night as well as by day. Recommended: Life and Paintings of Georges de La Tour (1593 - 1652) Tintoretto scarcely ever travelled out of Venice.

He loved all the arts and as a youth played the lute and various instruments, some of them of his own invention, and designed theatrical costumes and properties. He was also versed in mechanics and mechanical devices. While being a very agreeable companion, for the sake of his work he lived in a mostly retired fashion, and even when not painting was wont to remain in his working room surrounded by casts. Here he hardly admitted any, even intimate friends, and he kept his mode of work secret, with the exception of his assistants. He abounded in pleasant witty sayings, whether to great personages or to others, but he himself seldom smiled. Jacobo Robusti (Tintoretto) – The Miracle of St Mark Freeing the Slave Out of doors, his wife made him wear the robe of a Venetian citizen; if it rained she tried to induce him with an outer garment which he resisted. When he left the house, she would also wrap money up for him in a handkerchief, expecting a strict accounting on his return. Tintoretto’s customary reply was that he had spent it on alms to the poor or to prisoners.

Recommended: Masters of Art: Jan Van Eyck (1395 - 1441) An agreement is extant showing a plan to finish two historical paintings, each containing twenty figures, seven being portraits in a two month period of time. The number of his portraits is enormous; their merit is unequaled, but the really fine ones cannot be surpassed. Sebastiano del Piombo remarked that Tintoretto could paint in two days as much as himself in two years; Annibale Carracci that Tintoretto was in many pictures equal to Titian, in others inferior to Tintoretto. This was the general opinion of the Venetians, who said that he had three pencils—one of gold, the second of silver and the third of iron. Jacobo Robusti (Tintoretto) – The Last Supper A comparison of Tintoretto’s final The Last Supper with Leonardo da Vinci’s treatment of the same subject provides an instructive demonstration of how artistic styles evolved over the course of the Renaissance. Leonardo’s is all classical repose. The disciples radiate away from Christ in almost-mathematical symmetry.

In the hands of Tintoretto, the same event becomes dramatic, as the human figures are joined by angels. A servant is foregrounded, perhaps in reference to the Gospel of John 13:14-16. In the restless dynamism of his composition, his dramatic use of light, and his emphatic perspective effects, Tintoretto seems a baroque artist ahead of his time. Jacobo Robusti (Tintoretto) – The Last Supper 2 Let’s now enjoy some of his most celebrated works!

Jacobo Robusti (Tintoretto) – The Meeting of Tamar and Judah Jacobo Robusti (Tintoretto) – The Martyrdom of the Ten Thousand (fragment) Jacobo Robusti (Tintoretto) – The Descent into Hell Jacobo Robusti (Tintoretto) – The Deposition Jacobo Robusti (Tintoretto) – The Crucifixion of Christ Jacobo Robusti (Tintoretto) – Marriage at Cana Jacobo Robusti (Tintoretto) – Creation of the Animals Jacobo Robusti (Tintoretto) – Christ Washing the Feet of His Disciples Jacobo Robusti (Tintoretto) – Christ at the Sea of Galilee Jacobo Robusti (Tintoretto) -Venus, Mars, and Vulcan Jacobo Robusti (Tintoretto) – The Supper at Emmaus Hope you enjoyed the article as much as i did compiling the info and the images! See you next time!

Articles’ Images are in the public domain because their copyright has expired, and are available through Wikimedia This Articles’ text is licensed under the Creative Commons BY-SA License since it partially uses material from Wikipedia . (Visited 538 times, 1 visits today) SCAN THIS QR CODE WITH YOUR PHONE Close Tintoretto - The complete works - Page 1 Contact Self portrait Jacopo Tintoretto (real name Jacopo Comin; September 29, 1518 - May 31, 1594) was one of the greatest painters of the Venetian school and probably the last great painter of the Italian Renaissance. In his youth he was also called Jacopo Robusti, as his father had defended the gates of Padua in a rather robust way against the imperial troops. His real name "Comin" has only recently been discovered by Miguel Falomir, the curator of the Museo del Prado, Madrid, and was made public on the occasion of the retrospective of Tintoretto at the Prado in 2007. Comin translates to the spice cumin in the local language.

For his phenomenal energy in painting he was termed Il Furioso, and his dramatic use of perspectival space and special lighting effects make him a precursor of baroque art. Tintoretto Oil Painting - Oil Painting Reproductions & Tintoretto Art - Artisoo.com Tintoretto Tintoretto Oil Paintings Tintoretto - Jacopo Robusti (real name Jacopo Comin) was one of the greatest painters of the Venetian school and probably the last great painter of the Italian Renaissance. In his youth he was also called Jacopo Robusti, as his father had defended the gates of Padua in a rather robust way against the imperial troops. For his phenomenal energy in painting he was termed Il Furioso, and his dramatic use of perspective space and special lighting effects make him a precursor of baroque art. He was born in Venice in 1518, as the eldest of 21 children. His father, Giovanni, was a dyer, or tintore; hence the son got the nickname of Tintoretto, little dyer, or dyer's boy. Little is known about his life.

In childhood Jacopo, began daubing on the dyer's walls; his father, noticing his bent, took him to the studio of Titian to see how far he could be trained as an artist. He is said to have trained very briefly with Titian, but the style of his immature works suggests that he may also have studied with Schiavone, Paris Bordone, or Bonifazio. He spent all his life in Venice and. He appears to have been unpopular because he was unscrupulous in procuring commissions and ready to undercut his competitors. He studied from models of Michelangelo's Dawn, Noon, Twilight and Night, and became expert in modeling in wax and clay method which afterwards stood him in good stead in working out the arrangement of his pictures. By 1539 he was painting pictures composed in a traditional Venetian manner with the figures arranged parallel to the picture plane and unlinked by any strong movement or variation in the arrangement. He was a formidable draughtsman and, he had inscribed on his studio wall the motto `The drawing of Michelangelo and the color of Titian'.

However, he was very different in spirit from either of his avowed models -- more emotive, using vivid exaggerations of light and movement. His drawings, unlike Michelangelo's detailed life studies, are brilliant, rapid notations, bristling with energy, and his color is more sombre and mystical than Titian's. For the Scuola della Trinity he painted four subjects from Genesis. Two of these, are "Adam and Eve" and the "Death of Abel", both noble works of high mastery, which leave us in no doubt that Tintoretto was by this time a consummate painter - one of the few who have attained to the highest eminence in the absence of any formal training. Towards 1546 Tintoretto painted for the church of the Madonna dell'Orto three of his leading works: "Worship of the Golden Calf", the "Presentation of the Virgin in the Temple", and the "Last Judgment". In 1548 he was commissioned for four pictures in the Scuola di S.

Marco: the "Finding of the body of St Mark in Alexandria", the "Saint's Body brought to Venice, a Votary of the Saint delivered by invoking him from an Unclean Spirit", and the highly and justly celebrated "Miracle of the Slave". The last presents one of the chief glories of the Venetian Academy. Tintoretto enormous labor and profuse self-development in the Scuola di S. Rocco may almost be regarded as a shrine reared by Tintoretto. Works done there are: "Crucifixion", the "Plague of Serpents"; and ceiling with pictures of the "Paschal Feast" and "Moses striking the Rock". Of pupils Tintoretto had very few. His two sons and Martin de Vos of Antwerp were among them. There are reflections of Tintoretto to be found in the Greek painter of the Spanish Renaissance El Greco, who likely saw his works during a stay in Venice. He was seized with an attack in the stomach. He died in 1594. Read More

Question: Which Venetian artist, real name Jacopo Robusti, painted “The Origin of the Milky Way”?
Answer: Tintoretto